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Caspar David Friedrich

If the nineteenth-century Romanticism revealed the cosmic pessimism of the depth of feeling within, Friederich brings you the iconographic imagery with symbolic visions of this microcosm of the human search blend of melancholy with the immensity of the Universal macrocosm. A first floor suffered a distant background and alienating, difficult to grasp, understand, in a sense of infinite intangible and mysterious. Symbols are embodied on the canvas, by embodying the elevation of man through meditation ether questions of existence. Nature wears signs to decipher: the mountains are faith, hope the firs, the dawn eternal life, the moon illuminating the advent, and red for love, ivy immortality, the eternal sea, the boats transit to eternal life, the evergreen pine and oak twisted Christianity opposed the pagan world. In each context, the nature has in the divine and the search amazed / frightened man immerso nella solitudine della sua finitezza, sempre in cerca dell'unione con l'infinito naturale. La tensione di quello sguardo contemplativo verso spazi infiniti senza tempo che portano l'uomo in un luogo lontano dell'io. Friedrich scriveva che "il divino è ovunque, anche in un granello di sabbia; una volta l'ho raffigurato in un canneto". I suoi personaggi sempre colti , con idea molto innovativa, di spalle, alla stessa altezza del nostro sguardo coinvolgendoci in un'identificazione speculare, davanti allo spettacolo grandioso di un qualcosa di arcano, come quel viandante sul mare di nebbia , manifesto del suo tempo, colto in una solitudine eroica davanti ad un abisso senza tempo, anelando e temendo di sprofondare in quell'immensità, di perdersi in quella visione che contempla vita, morte, inizio, fine, rinascita. C'è un altrove, come un mare di ghiaccio artico, dove tutto si annulla in una eterna fissità, senza spazio e tempo, in cui la vita s'incaglia , ma è un attimo nell'esistere di quell'assoluto. Noi eterni viaggiatori in un crepuscolo, contempliamo l'attimo in cui tutto si trasforma intorno a noi, e il paesaggio si fa luogo dell'anima.

Friedrich -L'unica vera sorgente dell'arte è il nostro cuore, il linguaggio di un animo infallibilmente puro. Un'opera che non sia sgorgata da questa sorgente può essere soltanto artificio. Ogni autentica opera d'arte viene concepita in un'ora santa e partorita in un'ora felice, spesso senza che lo stesso artista ne sia consapevole, per l'impulso interiore del cuore.

Friedrich -per vivere in eterno,bisogna spesso abbandonarsi alla morte

L'amico medico Schubert :« In un primo tempo non mi saziavo di guardare quell'uomo straordinario; ...... La serietà malinconica, che si mostrava soprattutto nella fronte, era addolcita dallo sguardo dei suoi occhi azzurri, ingenuo come quello di un bambino e sulle sue labbra aleggiava un che di scherzoso. Era in lui una mescolanza curiosa di profonda serietà e di gaiezza scherzosa, come a volte si trova tanto nei più grandi spiriti malinconici quanto in the most comical. "

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Portrait of Jennie

The painter Eben Adams penniless and without inspiration-just landscapes, especially with the stormy sea - on a foggy night and a strange winter in New York, met at Central Park, Jennie, a girl beautiful and unique. It remains so impressed by portray her in a sketch, the best I have ever done, he lights a spark and new energy to paint. It happens a few meetings, it appears inexplicably grew up, he asks questions, but refuses to answer, and while his life has carried out continuous small. But the girl is surrounded by many mysteries, seems to belong to another time, and be visible and tangible only him, the only certainty is that both see the love grow for one another. Eben makes a sublime portrait, but after a further visit in which she is now a beautiful woman, disappears. In trying to understand the truth, she discovers that she lived and died long before ten years, swept in a terrible storm, during a boat trip to the lighthouse, then I went very anniversary of the tragedy, but can not find prevent his death, now written by destiny, but she wants him to live for his art, and why they love exists in eternity. Eben is saved, and now under the leadership of this love inspired his art is made, become famous, but his masterpiece remains forever, "Portrait of Jennie." An unclassifiable film, has the pace of a noir atmosphere and anxiety, but it tells an amour fou, one of the strangest where the object of love does not understand if it's ghost, dream, déjà vu, magic, madness. Psychological melodrama, dripping with romantic surrealism, with its dreamlike themes on the mystery of death, love, art, and where you can meet in a different flow of time: the feelings and art, which he also won in spite of the time inexorable passage. This film has its charm, narrative, smack in the face of Jennifer Jones, and for an incredible photography where, every now and then the film has the texture of the canvas of a painting, done on a series of misty gray shades, from pale lights up to the final before the outbreak of the blinding storm that green, then until the end of the amaranth technicolor total picture presented to the museum. The spell of this film is really beyond the time because Buñuel is defined as a "mysterious and poetic work."

The gallery
No one like an old maid who understand love. The gallery

the portrait of a woman must understand that something timeless

Jennie Eben

We

eternity for us, Eben. Eternity! We were desperate and alone: \u200b\u200bthe time was wrong, but you made me wait, and we want to let you ritrovati.Non! No, Eben, do not let me. There is no life, no life until you love and you are not loved in return. And then there is no death. The taxi driver friend

painter

I have a great respect for those who pulled out his own way even if all goes wrong: you have decided to be a painter, and here the rest for you there. See, sometimes you believe that in this world there is nothing else to do but try to get by best we can: make some money, have a girl, eat, sleep and enjoy it. Then it happens out of a guy like you that these things do not mind you, and then one thinks, "But after all, maybe it is I who was wrong."

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The Mummy

Egypt twenties, an archaeologist by reading aloud the inclusion of an 'ancient papyrus awakens the mummy of the priest Imhotep, who fled after ten years and presenting as Ardath Bey steals from other archaeologists but to attract the beautiful Helen, for him the reincarnation of Princess Ankh-es-en-amon, because for his sake, his betrayal and of being buried alive. Helen is mesmerized by the past and what gives rise to the strange man, to kidnap her in order to undergo a rite of death to revive the beloved Ankh-es-en, but turning to the statue of Isis, she manages to return to dust the priest. Scary movies, from 'elegantly gloomy atmosphere, steeped in a dark and exotic romance, not a horror story but suggestive of an' impossible love through the ages. Great start with the mummy in the sarcophagus still, reading the ancient text, the eyes that wake up and my hand cramped with old age, which takes the parchment, and then the trail of a band that goes out the door when the young archaeologist crazy ride. All over the face of Boris Karloff in a special effect if, due to the magic makeup and his skill in recreating monstrous characters. All of these monsters, from vampires to the creature from the Black Lagoon, create terror, fear, but they seem to love as it is not granted to ordinary mortals, with a dedication and a passion that prevailed time and space.

Imhotep: "Anck-es-en-Amon, my love has lasted longer than the temples of the gods"

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Fragments

In panne with the PC and living the Fall of the House of Usher, in my mind like a kaleidoscope gone mad out images of everyday life in different fragments that overlap, add amalganmo and memory.